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Extortionate Concert Tickets and the Cost of Access
In the realm of live music, few things can compare to the amazing feeling of a packed venue, a beloved band, and the shared energy of thousands of fans singing in unison. But for many, especially those from lower socio-economic backgrounds, this dream remains frustratingly out of reach not due to lack of passion, but because of skyrocketing ticket prices driven by monopolized ticketing systems. Using the example of the band Oasis and their upcoming tour.
The recent announcement of Oasis’ long-awaited reunion concerts sent shockwaves through the music world; particularly for fans who have waited over a decade to hear some of their classic songs sung live again. The excitement was quickly tempered by the reality of ticket prices and the process of getting tickets. Standard Oasis tickets before any premium charges were reportedly being resold for upwards of £300, with official prices starting around £75. For a band rooted in working-class Manchester, the irony is stark: the people who Oasis originally resonated with most are now priced out of seeing them live. Oasis is just an example of this, this can be seen with many different artists globally, and it raises a question of should something be done, and if so, who needs to make the first step and what should that first step be?
At the heart of this issue are ticketing giants who dominate the live event landscape. These companies often employ dynamic pricing models similar to airline pricing where ticket prices fluctuate based on demand. In theory, this aims to reflect market value. In practice, it frequently drives up costs to exploit fan enthusiasm, creating a system that prioritizes profit over accessibility. Worse still, these companies allow and often profit from reselling schemes that further inflate prices. It is only recently where some sites have now put procedures in place for tickets to be resold at the same value to which they were purchased. Additionally, there is the issue of bots buying hundreds of tickets during presales then relisting them on other sites for extortionate prices.
Now to put it into perspective, are there more pressing issues globally that need to be addressed, the answer is yes. However, in the world of criminology where we are constantly thinking about harm, what should be a crime or criminalised, it poses an interesting question and debate. The consequences are significant, particularly for lower-income individuals. Live music, once a unifying and accessible cultural experience, has become a luxury. For a working-class fan, spending £300 on a single concert excluding travel, accommodation, and other costs is unlikely. Add to this the current economic constraints they may be facing elsewhere, and it makes it even more unlikely.
In a world where there are so many pressures, restrictions, worries and concerns, music can be a form of escape and enjoyment. So, should ticket companies be held more accountable? Should there be stronger regulations to prevent price gouging and limit resale abuses? Governments could enforce price caps, mandate transparent pricing structures, or require a certain percentage of tickets to be sold at accessible prices. Additionally, artists themselves may have a role to play; by partnering with ethical ticket vendors or pushing for more equitable ticket distribution. I managed to get tickets at face value price after trying for the third time recently, this was through a process of receiving a unique code via email as a result of being identified as one of the many who had failed on previous occasions. In this sense, I may be classed as one of the lucky ones.
Oasis, a band that once embodied the voice of working-class Britain, now symbolizes a broader issue: the commercialisation of joy. Music should transcend economic boundaries rather than reinforcing them.
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Concrete Jungle
The 6th February 2025 marked what would have been the 80th birthday of Bob Marley. Despite his passing at the age of 36, his iconic legacy remains through various means; from his music being played and passed down from generation to generation, to the work of his wife, children and grandchildren that work to keep his message and music alive.
I myself was introduced to the music of Bob Marley at a young age by my father. My father played bass guitar in a band and music in our household was very important and a way in which we bonded. My father also had the pleasure to watch Bob Marley play live in the 1970s.
Whilst Bob Marley and Bob Marley and the Wailers have a massive catalogue in which I have many favourites, I wanted to share a personal favourite that may be slightly less known.
I’ve been getting first year students to choose songs and then getting them to try to apply criminological theories that link to the song. I think this would be a good way of getting them thinking and applying their knowledge.
Concrete Jungle by Bob Marley and the Wailers
I love this song for many reasons which I will mention briefly.
Firstly, the lyrics are emotive and powerful. The introductory lyrics state:
No sun will shine in my day today.
The high yellow moon won’t come out to play.
Darkness has covered my light
and has changed my day into night!
These initial lyrics highlight the plight of many individuals living in Kingston, Jamaica at the time. It alludes to the lack of resources, opportunities and hope.
The song continues in this vein
Must be somewhere (sweet life) to be found (out there somewhere for me)
Instead of a concrete jungle
Where the living is harder
Oh man, you’ve got to do your best, yeah (concrete jungle)
No chains around my feet but I’m not free.
I know I am bound here in captivity.
And I’ve never known happiness.
The lyrics are deep and meaningful and Bob Marley sings them with such unrivalled conviction, pain and emotion.
Another poignant lyric in the song is:
I’ve got to pick myself from off the ground, yeah
In this yah concrete jungle
These lyrics highlight two things to me, the bitter feeling of knowing no one is there to help but themselves and second, the sheer resilience of individuals in such situations that pick themselves up from the disadvantage, poverty, and discrimination they face.
Whilst Bob Marley’s voice is unmatched, a moment must be spared to discuss the background vocals, the bass guitar and the guitar solos. Peter Tosh and Bunny Wailer’s background vocals are just as important and the higher key provides a great contrast.
Additionally, the bass guitar in this song is an important constant throughout the song, there in the background but still a key element. The guitar solo also adds an extra element to the song and arguably moves this song beyond the genre of reggae to the realm of rock and perhaps a new audience. It’s no wonder rock bands at the time were influenced by reggae music and vice versa. A good example being The Clash’s version of ‘Police and Thieves’, originally sung by Junior Murvin.
So if you have time, listen to the song, maybe a few tunes as each time you may hear and appreciate different elements of the song. I particularly encourage you to watch the performance of Concrete Jungle on The Old Grey Whistle Test, which can be found on YouTube. The live performance shows the emotion in a new way!
Thoughts from the criminology team 